S5 E2 According to Harpy
by Harpy101
Summary: Action in italics. Almost everybody in it but Isobel. She will be in next E3 according to me.


SERVANT'S HALLWAY, EARLY MORNING

_Jimmy & Thomas step out of their rooms and into the hallway_  
><em>at the same time, both in undershirts and with towels.<em>

JIMMY  
>You go first.<p>

THOMAS  
>I was going to slip these under<br>your door.

_Hands Jimmy a packet of cigarettes._

JIMMY  
>What for?<p>

THOMAS  
>I was in the village yesterday and<br>I got you a packet of cigarettes when  
>I got mine.<p>

JIMMY  
>Wait. I'll get your money.<p>

THOMAS  
>I don't need your money. We're<br>friends, aren't we? I just got you  
>a packet of cigarettes.<p>

(BEAT)

JIMMY  
>What do you want?<p>

THOMAS  
>I can't do a favor for a friend<br>without-

JIMMY  
>(Interrupts him) No.<p>

THOMAS  
>(Shrugs) Well, I did.<p>

_Thomas gives Jimmy a look and continues down the hallway. He_  
><em>stops and looks back, keeping his voice very low.<em>

THOMAS (CONT'D)  
>I'm not courting you, if that's<br>what you're afraid of.

_He turns and walks away._

(BEAT)

JIMMY  
>No. I'm not afraid of that.<p>

COTTAGE. MORNING.

_A small basket full of medicine bottles, a book and other_  
><em>items is set on the edge of a desk, next to sheets of figures<em>  
><em>and several newspapers and other periodicals.<em>

BATES

_Smiles up at his wife_.

ANNA  
>You're up early. Doing more<br>figures?

BATES  
>If we keep saving as we are, we'll<br>be ready to buy in three or four  
>years.<p>

_She is putting on her coat._

ANNA  
>That will go by quickly.<p>

BATES  
>I want to be able to move when a<br>good property opens locally. It  
>may take months to renovate,<br>depending. When we're ready we can  
>give several months notice, train<br>our replacements and - go into  
>business.<p>

_They take a moment to smile at each other. They are both_  
><em>excited, but also not quite ready.<em>

BATES (CONT'D)  
>We'll need our own decent-sized<br>quarters as well, for when-

(Silence)

ANNA  
>(Is sober, perhaps even a<br>bit sad.)  
>For IF-<p>

BATES  
>If. When. It doesn't matter.<p>

_Pulls her onto his lap._

BATES (CONT'D)  
>Are you off to the village now?<p>

ANNA  
>(LAUGHS)<br>Stop that! I'll wrinkle!

_He releases her. She begins to pin on her hat._

ANNA (CONT'D)  
>You're lovely about my friendship<br>with Mrs. Wright. She's not well  
>lately. I'm meeting Dr. Clarkson at<br>her house this morning.

BATES  
>I've seen what the visits do for<br>you. I'd move her into the cottage  
>next door if you wanted.<p>

_He puts down his pen, thoughtfully._

She's charming, but there's a sense  
>of the grand lady about her at<br>times, as well. The family must  
>have had a title or been of means<br>at one time.

ANNA  
>I've wondered that, too. But of<br>course it doesn't matter. She's  
>the kindest of friends. I'll see<br>you at breakfast.

_Kisses him. She pulls back, he pulls her in again for_  
><em>another. She pulls back, but then she goes in for one more<em>  
><em>kiss. She smiles and is off with her basket.<em>

MORNING. BREAKFAST TABLE UPSTAIRS. ONLY EDITH AND TOM ARE  
>PRESENT.<p>

_They speak softly. Tom is keeping an eye on the door._

TOM  
>We'll be on a different side of the<br>estate all next week, so it may be  
>a good week for your-visits.<p>

EDITH  
>Thank you.<p>

TOM  
>But if you want my opinion-<p>

EDITH  
>I suppose it comes with the<br>alliance, yes.

TOM  
>She belongs at the estate with her<br>cousins. She should be a part of  
>this family, not an outsider.<p>

EDITH  
>Tom, am I treated like a member of<br>this family?

TOM

_Just looks at her._

EDITH  
>How could I allow a child to be<br>treated the way I'm treated here?  
>Can you imagine, growing up with<br>George always lording over her?

TOM  
>He won't-we won't allow him to act-<p>

EDITH  
>Mary will. She'll insist on it.<p>

TOM  
>Sybil is the daughter of a<br>chauffeur, and she is given every-

EDITH  
>But my little sister is dead. Her<br>daughter is the only way we have to  
>love her. So she'll always be<br>loved. But MY child? My-bastard  
>daughter by a man my father scoffed<br>at? She'll be lucky if they don't  
>have her scrubbing the floors, or<br>feeling as if she should BE  
>scrubbing the floors. I won't,<br>Tom. And I'm still counting on  
>your discretion.<p>

TOM  
>I don't break promises. I won't<br>ever say. But I wish there was a  
>way they could all grow up<br>together. They might all need each  
>other.<p>

EDITH  
>What my daughter needs is to grow<br>up among loving people who accept  
>her and respect her.<p>

TOM  
>I won't argue with that. But I<br>hope there may be some  
>reconciliation at some point, is<br>all.

EDITH  
>Keep hoping, Tom. I've hoped for<br>that my whole life.

COURTYARD, AFTER BREAKFAST. BAXTER and MOSELY ARE SMOKING  
>BEHIND A WALL AND SPEAKING QUIETLY.<p>

BAXTER  
>I wanted to talk to you.<p>

MOSELY  
>Of course.<br>(babbling)  
>When you want to talk, I'm always<br>here to listen. You know, as a good  
>husband would. (He blushes.) I<br>mean, and I would. Of course I  
>mean as a good MAN would. As I<br>would.

BAXTER  
>I want to say first that, if this<br>changes your feelings about me,  
>then I won't blame you at all. And<br>I will understand if our-friendship  
>changes for you. I won't hold it<br>against you or resent it. I will  
>respect it.<p>

_She pauses nervously. She looks around them, then continues._

BAXTER (CONT'D)  
>I had a child out of wedlock, when<br>I was young. The father-

MOSELY  
>Yes?<p>

BAXTER  
>He-was a Lord.<p>

MOSELY  
>And he broke your heart?<p>

BAXTER  
>No. I didn't love him. It nearly<br>broke my spirit, though. I-I was  
>not willing.<p>

MOSELY.  
>Oh-I-Oh.<p>

BAXTER  
>He was taken-adopted by a member of<br>that family. So, if you-I will  
>understand if-<p>

_He shyly takes her hand, just for a moment. She smiles._

MOSELY  
>And you were married, for a time,<br>after that?

BAXTER  
>Yes. My husband was killed in the<br>war. We had no children.

MOSELY  
>I see.<br>(Tries to be casual.)  
>And what-what is your view on<br>marriage now?

BAXTER  
>I think it is a good thing. As<br>long as there is honesty. And  
>respect.<p>

MOSELY  
>I couldn't agree more.<p>

WALKING THE FARMS ON THE ESTATE. DAY. TOM AND ROBERT.

ROBERT  
>You seem convinced we are on the<br>correct path. I sometimes worry  
>about the force of Mary's<br>personality in all of this.

Tom  
>It might end up being the force<br>that saves the estate. I'd bank on  
>that.<p>

ROBERT  
>She can be very persuasive when<br>she's set her sights on something.

Tom  
>I'll bet she was a strong-willed<br>child.

ROBERT  
>The strongest. The most stubborn.<br>A certain doll, a certain frock,  
>nothing else would-<p>

Tom  
>Don't mistake all this for girlish<br>whimsy. Mary knows what she wants  
>and she will get it done. I just<br>want to do right by her.

ROBERT  
>Do right by Mary?<p>

TOM  
>Don't you trust her?<p>

ROBERT  
>I've more reason perhaps than you.<br>Why did you believe in her so  
>absolutely from the start?<p>

TOM  
>I hope you'll take no offense at<br>this, but in a certain way she  
>reminds me of Irish women.<p>

ROBERT  
>(Has no idea how to reply to this)<p>

TOM  
>You don't get between an Irish<br>woman and her home and brood.  
>You're better off throwing rocks at<br>a bear.

THE DOWAGER'S HOUSE. DAY. AT TABLE FOR LUNCH.

ROSE  
>I've decided I want to attend<br>University.

_Violet and Cora put down their cups and stare._

VIOLET  
>University?<p>

ROSE  
>Many girls are doing it now. They<br>have classes specifically for women  
>at Oxford. My friend Erma attends,<br>and she's invited me to visit. I  
>could observe a class to two.<br>They've been allowing that for  
>years and years now-<p>

VIOLET  
>Intellect creates frown lines and<br>premature cataracts. It's the  
>furthest thing from feminine.<p>

ROSE  
>But-<p>

VIOLET  
>It's out of the question. A lady's<br>education should be firmly in place  
>before anyone tries to fill her<br>head with intellectual ideas. You  
>don't want to be an academic, my<br>dear. They're a duller species  
>even than the professions.<p>

ROSE  
>Might I simply-observe some<br>classes, then? Go for a short  
>visit? Before it all begins?<br>Please?

VIOLET  
>Why would you want to waste your<br>youth in such a world? Marry  
>someone suitable-<p>

ROSE  
>Once I'm married my youth is gone!<p>

CORA  
>Oh, nonsense! That's when your<br>life really begins.  
>You'll have distractions. Parties.<br>A household to set up. You might  
>travel-<p>

ROSE  
>I'm not ready to be a married woman<br>yet!

CORA  
>No one thinks she's ready. But<br>trust me, you are. It's best.

COURTYARD. DAY. MOSELY & BAXTER ARE WALKING SLOWLY TOWARD  
>THE SERVANT'S DOOR, THEIR VOICES LOW.<p>

MOSELY  
>So I hope I'm not wrong to ask-<p>

BAXTER  
>Please do. I want you to.<p>

MOSELY  
>Is that all? I mean, a child out<br>of wedlock, especially when you  
>were so young-<p>

BAXTER  
>I can't ever reveal who the child<br>is. Even to you. I hope you  
>understand that.<p>

MOSELY  
>I do-but did you never, for<br>example, steal from an employer or  
>try to force yourself on another<br>servant?

_They exchange a knowing look. Baxter laughs._

BAXTER  
>No.<p>

MOSELY  
>It's not as if he can hurt you,<br>then.

BAXTER  
>That depends on Her Ladyship. She<br>does favor him. I told him to do  
>his worst. I suppose-I got tired<br>of it. Of keeping the secret. Of  
>him using it on me, trying to get<br>me to spy on people.  
>I have broken the deal. He'll tell<br>her now. But I don't know when  
>he'll pick his moment.<p>

MOSELY  
>Well, he won't be the only one<br>talking. I hope you will excuse  
>me. I'll see you soon.<p>

_They enter the servant's hall and go their separate ways._  
><em>Mosely sees Bates in the hallway and hails him with a look.<em>

OFFICES OF THE SKETCH, LONDON. DAY.

EDITH  
>Who has set up in Mr. Gregson's<br>office?

BLAKE  
>That's Reginald Anderson, My Lady.<br>He's taken over the job of managing  
>editor, as I said in my letters.<p>

EDITH  
>Yes, but I didn't realize-<p>

ANDERSON  
>Lady Crawley, how lovely to see<br>you.

EDITH  
>Yes. Thank you.<p>

ANDERSON  
>Won't you come have a seat in the<br>board room?

EDITH  
>Where are the staff?<p>

BLAKE  
>Why, working My Lady! (Blake and<br>Anderson chuckle indulgently)

_They move into the board room. A tea tray waits on the long_  
><em>table.<em>

ANDERSON  
>I wanted to say, Lady Crawley, that<br>we are happy to accommodate a  
>regular visit.<p>

_Edith pauses to eye him._

EDITH  
>Oh, really?<p>

ANDERSON  
>Of course, we'll have the proper<br>scones delivered and give you a  
>regular presentation. We are<br>prepared to do so. But remember  
>this is a newspaper, and we don't<br>stop down often.

EDITH  
>I'm not asking you to stop down.<br>Far from it.

ANDERSON  
>Good, good. As a - friend - of Mr.<br>Gregson you understand the pace we  
>work at. But we're happy to<br>welcome you and give you regular  
>reports.<p>

EDITH  
>You're welcoming me? As I<br>explained in my correspondence I've  
>been given power of attorney. The<br>Sketch is now mine.

ANDERSON  
>Of course, My Lady, of course. And<br>we will do all we can to  
>accommodate you.<p>

EDITH  
>I'm glad to hear it, Mr. Anderson.<br>You will move out of Mr. Gregson's  
>office at once into your old<br>office, or whatever is most  
>convenient.<p>

ANDERSON  
>I beg your pardon?<p>

EDITH  
>At once. I intend to-supervise the<br>Sketch. I will be-supervising  
>editor.<p>

BLAKE  
>Supervise? But - You only wrote<br>features for a time before-

EDITH  
>Yes, I'm aware of my history with<br>the paper and you are all aware of  
>my friendship with Mr. Gregson. But<br>I will not be a visiting dignitary.  
>I'm moving to London and I will be<br>a full-time supervisor of this  
>staff and this newspaper.<p>

ANDERSON  
>What can you possibly know about-<p>

EDITH  
>Mr. Anderson, if you wish to retain<br>your position please move your  
>office immediately. I will be in<br>first thing tomorrow morning and I  
>want it done. Are there any<br>questions?

_Stunned silence._

EDITH (CONT'D)  
>Good.<p>

KITCHEN. DAY. DAISY, JIMMY.

_Daisy is packing two crates with jars._

DAISY  
>Do you miss Ivy?<p>

JIMMY  
>Why would I miss Ivy?<p>

DAISY  
>Have you no heart for anyone?<p>

JIMMY  
>It's hard enough looking after<br>myself.

_Thomas walks into the kitchen, stopping._

THOMAS  
>What are we talking about?<p>

DAISY  
>Ivy. Gone to America.<p>

THOMAS  
>Ah, yes. I barely noticed.<p>

DAISY  
>Men. You're all about yourselves.<br>It's a wonder you even see other  
>people at all.<p>

JIMMY  
>Sounds as if you might be the one<br>missing Ivy, Daisy.

DAISY  
>Don't be daft. She was a decent<br>cook, is all.

_Patmore enters._

PATMORE  
>Now, Daisy, you've checked the<br>stores and the lists again?

DAISY  
>Yes, Mrs. Patmore. We're ready.<br>It will be fine.

_Thomas is listening openly._

PATMORE  
>What's all this to you?<p>

THOMAS  
>I am under butler, Mrs. Patmore.<br>Everything that goes on in this  
>house concerns me.<p>

PATMORE  
>Concern, is it? I've got other<br>names for it.

JIMMY  
>And we'd almost forgotten your job<br>title. Thanks for the reminder.

THOMAS  
>The right friends can make all the<br>difference.

HALLWAY. BATES AND ANNA OUTSIDE THE BOOT ROOM.

BATES  
>He will try to ruin her reputation.<br>It's what he does.

ANNA  
>What are you thinking of?<p>

(Beat)

ANNA (CONT'D)  
>Nothing foolish. You have that<br>look.

BATES  
>What loo-<p>

ANNA  
>The one you get before something<br>happens. Sometimes good and  
>sometimes not.<p>

BATES  
>I'll just have a talk with him.<p>

ANNA  
>And what happened the last time you<br>had a talk with Thomas?

BATES  
>It isn't right. She may have a<br>past of some sort but she can't  
>deserve the kind of destruction<br>he's likely planning.

ANNA  
>Sir Galahad. You don't have to<br>right every injustice in the world.

BATES  
>(Smiles)<br>That's rich. You can't bear them  
>any better than I.<p>

ANNA  
>I don't-I don't want you to get<br>into any more trouble. Ever.  
>Again.<p>

BATES  
>I promise.<p>

AFTERNOON, MASON FARMHOUSE KITCHEN.

_Daisy is unloading jams and jellies from crates onto the_  
><em>table. Mr. Mason is looking at them.<em>

DAISY  
>Sorry to just drop these off and<br>run back. But I've got dinner to  
>make.<p>

MASON  
>These are nice to look at, Daisy.<br>Looks at market is as important as  
>the flavor. They'll buy for the<br>color and come back for the taste.  
>I'll bring your money to the house<br>next week.

DAISY  
>Anna's going to teach me more<br>stitches so I can make covers for  
>them, or just add a ribbon.<br>Something to make them stand out.

MASON  
>I don't mind saying now, I'm glad<br>you didn't go to America. Would  
>have been a nice adventure, but-<p>

DAISY  
>No, I didn't want to go. I thought<br>about you, and the farm.

MASON  
>In just a few years, Daisy, I'll be<br>getting on-

DAISY  
>I know. And-I think I do want to<br>be here. I want to take care of  
>you then.<p>

MASON  
>That's nothing for a young lady to<br>do! You ought to be allowing the  
>young lads to bring you posies and<br>handing them back heartbreaks.

DAISY  
>I don't know about young men just<br>now. But I would like to look  
>after you, and learn to run the<br>farm. I would. But I don't know  
>as I'm ready yet.<p>

MASON  
>I've got a few strong years left.<p>

DAISY  
>You have. But it would be nice to<br>know you have someone. And I want  
>to be that someone.<p>

EVENING. ROSEMUND'S HOUSE IN LONDON. ROSEMUND AND EDITH IN  
>THE PARLOUR.<p>

ROSEMUND  
>How did it go?<p>

EDITH  
>It is the strangest thing to hear<br>another person's voice coming out  
>of your own mouth. The very person<br>you like the least in the world.  
>But oddly exhilarating at the same<br>time. I told them I mean to be  
>supervising editor. I'm setting up<br>my office tomorrow.

ROSAMUND  
>Was that wise, my dear? To push in<br>like that?

EDITH  
>I'm not pushing. Michael trusted<br>me to do it. I've decided to move  
>to London. I'll find a small house<br>and then I can have Corinne with  
>me.<p>

ROSAMUND  
>The baby here? But how will you-<p>

EDITH  
>No one will visit me. And if they<br>do-I'll have a nanny, of course. I  
>can't sneak around on the estate<br>anymore like a criminal and I won't  
>be kept from her. I'm her mother.<p>

ROSAMUND  
>Well, you can stay here while you<br>set up. But raise a child alone in  
>London? And run a newspaper? I<br>wonder at your sanity, my dear.

EDITH  
>I'm going to do it. For once in my<br>life I will HAVE a life. One  
>that's entirely mine.<p>

SERVANT'S QUARTERS HALLWAY. EARLY EVENING. BATES APPROACHES  
>THOMAS, WHO IS READYING TO GO DOWN TO SERVE DINNER.<p>

BATES  
>Mr. Barrow. A word.<p>

THOMAS  
>What is it, Mr. Bates?<p>

BATES  
>Her Ladyship has been protected<br>from certain information about you,  
>and that can change.<p>

THOMAS  
>I'm sure I don't know what you<br>mean, but I don't appreciate the  
>insinuation.<p>

BATES  
><em>Closes in on him.<em>

Leave Miss Baxter alone.

THOMAS  
>You going to beat me up again, Mr.<br>Bates?

BATES  
>You're finished with Miss Baxter.<br>As of now.

THOMAS  
>She's nothing to me.<p>

BATES  
>Because you've got more up your<br>sleeve?

THOMAS  
>Doesn't a rat always?<p>

BATES  
>A rat always has schemes. But a<br>rat can only run on the floor.

THOMAS  
>Some of them climb, Mr. Bates.<br>Some rats are brilliant climbers.

EARLY EVENING. CARSON'S OFFICE.

HUGHES

_Is laying papers on his desk._

We're leaving day after tomorrow  
>and all is set. Here are the lists<br>for-

CARSON  
>I must speak with you.<p>

_Mrs. Hughes stops to look at him._

CARSON (CONT'D)  
>I feel that our-friendship has<br>happened upon some-uncertain ground  
>and I feel that we should keep our<br>relationship strictly professional.

HUGHES  
>Alright. Now, I will pass the house<br>keys on to Anna Saturday afternoon  
>before we leave, and she will be in<br>charge until we're back after  
>breakfast Sunday morning-<p>

CARSON  
>(This was far too easy for<br>his taste.)  
>I hold you in very high regard.<br>It's nothing to do with that.  
>Nothing at all to do with-<p>

HUGHES  
>Yes, I understand. Now here is the<br>list of what we ordered this month  
>in case you'll want to check the<br>store room, but it won't be  
>necessary, since-<p>

CARSON  
>It's professionalism! Surely you<br>can see that.

HUGHES  
>I surely can and I agree. Now,<br>we've all prepared as much as  
>possible. I'll leave you to get<br>ready for the gong.

_Carson watches her walk out of his office._

MARY'S BEDROOM. MARY SITS AT HER DRESSER. ANNA IS BUSY WITH  
>SHOES, ETC.<p>

MARY  
>How is your friend in the village?<p>

ANNA  
>Mrs. Wright is ailing, I'm afraid.<p>

MARY  
>You're kind to care for her. Does<br>she have no family?

ANNA  
>Only her son, and he is in America.<br>His wife is not well, and Mrs.  
>Wright wants him to stay there and<br>care for her. I feel for the son.  
>He's caught between the devil and<br>the deep blue sea.

_Anna is putting a necklace on Lady Mary._

ANNA (CONT'D)  
>And speaking of being caught<br>between-

MARY  
>It's not that I want to languish<br>among my champions. But I have to  
>be sure. We're at such a critical<br>stage right now developing the rest  
>of the estate and Papa thinks I'm<br>unqualified. My champion must be on  
>my side, yet be able to convince<br>Papa of the best course.

ANNA  
>These are interesting times to be a<br>woman. And to be running an estate.

MARY  
>A bit too interesting for most<br>men.

_Watches Anna in the mirror for a moment._

MARY (CONT'D)  
>I've every confidence in you. I<br>wanted to say. When you run the  
>house on Saturday. I know you'll<br>be a great success.

ANNA  
>It will be just a normal day and a<br>normal night. Just the family.  
>I'm excited, really.<p>

MRS. HUGHES' OFFICE. SHORTLY BEFORE DINNER.

PATMORE  
>Have you got a moment?<p>

HUGHES  
>I have. Just.<p>

PATMORE  
>I've decided to wear the new skirt<br>for the show.

HUGHES  
>But not the new shoes? It's quite<br>a way from the hotel to the  
>theater.<p>

PATMORE  
>No, just my good ones. You?<p>

HUGHES  
>Same.<p>

_Looks toward the door._

And I may even wear my mother's pearl  
>earrings. When do I get to do<br>that?

PATMORE  
>That's what this is all about.<p>

HUGHES  
>He's not in London for this one, is<br>he?

PATMORE  
>No, he's so American these days. I<br>don't think he's been back here in  
>years.<p>

HUGHES  
>Well, after "Blood and Sand", he's<br>really being taken seriously now.  
>Around the world.<p>

PATMORE  
>Oh! I love the title of this one.<br>"The Sainted Devil"! Isn't he  
>just!<p>

HUGHES  
>I wonder if there will be a song<br>and dance first. I don't mind a  
>play, but I like it when the short<br>features are different from the  
>film.<p>

PATMORE  
>And I hope it's a really good<br>pianist. I hate it when you get  
>the feeling that pianist would<br>rather be elsewhere. You can tell.  
>It's in the feeling when they play.<p>

DAISY  
>(Pokes her head in) Forgive me<br>Mrs. Hughes. Mrs. Patmore, did you  
>want the plain Hollandaise with the<br>fish tonight? Or the tarragon?

PATMORE  
>Oh! You're right. No tarragon!<br>It's in the chicken pie.

(To Hughes) Are you packed?

HUGHES  
>Just begun.<p>

PATMORE

_Leaving the office._

We need to be ready-for him!

HUGHES

_Shushes her, smiling as she makes down the hall._

ROBERT AND CORA'S BEDROOM SHORTLY BEFORE DINNER.

ROBERT  
>I'm going to need your help.<p>

CORA  
>Of course.<p>

ROBERT  
>I'm not sure how to-work with Mary.<br>I believe Tom is right. When I  
>look at her I see the little girl<br>who demanded she touch nothing but  
>silk and eat nothing but sweets.<p>

CORA  
>A very long three days.<p>

ROBERT  
>When she looks at me and makes her<br>demands-

CORA  
>Does she make demands? Of you?<p>

ROBERT  
>It somehow feels as if they ARE<br>demands. She's constantly at me to  
>change my mind, it seems. And when<br>she's doing that, all I can see is  
>my regal and demanding child.<p>

CORA  
>Perhaps-you haven't yet met the<br>woman you are talking to.

ROBERT  
>What can you mean?<p>

CORA  
>Mary has changed far more than just<br>growing from a girl into a woman.  
>She's a woman who has had<br>experiences you and I haven't.  
>She's in a position that you and I<br>have never been in. I've never had  
>to run an estate and you are not<br>woman in that position. We still  
>have each other. She is alone in a<br>way you and I have never been. She  
>has become a person that we don't<br>entirely know anymore. Perhaps you  
>could spend more time with her.<br>Ask her what she's thinking.  
>She has always been a challenge.<br>But she is someone we love.

ROBERT  
>Well, of course.<p>

CORA  
>Perhaps now you might find out that<br>she's someone you like in a new  
>way. Or at least respect.<p>

UPSTAIRS HALLWAY. EVENING.

BATES  
>I've spoken to Thomas. But he is<br>plotting something else.

ANNA  
>Well, we'll keep an eye on him. He<br>won't get one over.

BATES  
>Not if you and I put our heads<br>together on it.

ANNA  
>That usually works best.<p>

BATES  
>You're the brains. I'm the muscle.<p>

ANNA  
>You've got your own brains.<p>

_She turns to walk away then stops and looks back at him._

ANNA (CONT'D)  
>But I won't deny the other point.<p>

_They exchange a smile, and something more. Anna continues_  
><em>down the hall, with Bates smiling after her.<em>

END

CREDITS.


End file.
